A descoberta de mundos femininos invisibilizados em Clarice à luz do cinema benjaminiano: a poética do fazer ver em A hora da estrela, “O corpo” e “Ruído de Passos"

Abstract

Clarice Lispector's (1920-1977) quest to probe the depths of the human soul seems to have been the focus of all her literature. In doing so, she dealt with the unspeakable, which became visible through the effort of words to reveal facts that were often hidden from the eyes of society. In general, the author's writings make the familiar seem strange, bringing to light existing but ignored issues, something that is not far from cinema, according to Walter Benjamin, as it returns to the “hidden details of objects that are familiar to us” (BENJAMIN, 1987, p.189). One of the fiction writer's predilections was to follow in the footsteps of female existence and, in this sense, this research was interested in studying the construction of Lispector's characters in different age groups through cinematography, where they were exposed in some way, hidden by the system. This is because there is potential on the big screen to stir up the interpretive plurality of meaning and broaden human perception. The three film adaptations of narratives under study are: The Hour of the Star (1985), by Suzana Amaral, The Body (1991), by José Antonio Garcia, and Noise of Footsteps (1996), by Denise Gonçalves. The aim is to answer the following question: would the act of cinematic transposition make invisible women in cinema visible through the prism of familiar estrangement, as seen in both Clarice's narrative poetics and those of Walter Benjamin, allowing us to reflect on the reasons for their approximations and distances? The thesis we defend is that the characters in the adaptations of the same name – Macabéa (19), Carmem (39), Beatriz (50), and Cândida Raposo (81) – acted in accordance with the discovery of these invisible women in Clarice's world, based on Linda Hutcheon's (2013) idea of adaptation as repetition without replication. We start from the hypothesis that the art of the Lumière brothers, even with the specificities surrounding issues of social, political, aesthetic, and historical production, reflected some influence from the creator at the time of adaptation. As well as assuming that cinema further deepened the socially unnoticed conditions of their specific age group, revealed by Clarice. We hope that this study will contribute to future research interested in the writer's work and the films that adapted it. The investigation is based on names such as: Lefevere (2007), Xavier (2003), Plaza (2003), Gomes (2005), Hutcheon (2013), Stam (2006, 2008), Candido (2005, 1977, 1988, 2011), Kadota (1997), Peixoto (2004), Benjamin (1987), Reguera (2006), among others.